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Action, Crime, Crime Thriller, Movie Reviews, Movies, Thriller

REVIEW: “JOHN WICK: CHAPTER FOUR (2023) LIONSGATE

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“Have you given any thought to where this will end?”

—–A reasonable question repeatedly posed to Keanu Reeves’ seemingly immortal hitman in this fourth entry.

222 steps. That’s what it will take for John Wick to make it up to decide his fate. There are of course obstacles, so many obstacles.

John Wick (Keanu Reeves), fresh off being shot off a roof by supposed friend Wilson (Ian McShane), at the conclusion of ‘Parabellum’, is on a vendetta to destroy the ‘High Table’, while Bill Skarsgårds‘ Marquis character as he tells us, is a man of exquisite tastes, sets out to take Wick down. And as the ransom rises commensurate with Wick’s kill count, the hunt is on again with the only surprising element being that the ‘High Table’ still has a flood of anonymous assassins to call upon following Wick’s trail of destruction to date.

The continued existence of Wick yields consequences for those who align themselves with him; a brutal truth that is delicately raised by the wonderful Hiroyuki Sanada’s character Shimazu, as another round of thugs descend. But that’s about as deep as it gets – story is secondary, spectacle is everything. And like its predecessors, the film exists in its own unique realm of ridiculousness; a place where Clancy Brown’s ‘Harbinger’ serves an eviction notice by unveiling a massive ornamental hourglass, and where Wick trades dancefloor blows with Scott Adkins’ Wilson Fisk-esque villain while the noticing revellers just continue dancing the night away. But we’ve not come here for social realism – we’re here for the kick ass baddassery of John Wick and the body count. And boy…ask and ye shall recieve

Director Chad Stahelski is an action maestro who, aided by stunt coordinators Scott Rogers and Stephen Dunlevy (yes we NEED a stunt category Oscars), orchestrates a symphony of destruction as electrifying as it is in-your-face. The ballet of violence, all marinated in a neon glaze, is beautifully choreographed and, unbelievably, still manages to pull new tricks out of its blood-soaked bag, whether it be Sanada’s staircase ascent using knives and a witless heavy’s body, or Reeves’ nunchuks razzle dazzle.

And while the set pieces in Osaka and by the Arc de Triomphe will dazzle, it’s also the brillance of the characters. Donnie Yen, as blind assassin Caine, does well, the Donnie Yen thing…and gloriously so.

It’s a veritable buffet of overblown excess, but not without the odd undercooked canape. Lawrence Fishbourne has almost blick and you missed it, little to do scene where he presents Wick with his dry cleaning like a subway-dwelling Q. Shamier Anderson’s bounty hunter ‘Mr Nobody’ is brilliant addition giving us a fresh character that is seemingly hellbent on that ransom to a sadomasochistic degree, making his later decisions a bit on the curious side. And one action set piece on the Sacré-Cœur steps seemingly threatens to go on forever, and it becomes my only gripe as it makes the film drag for a overly long bit of it’s 3hrs run time. But these are just nit-picks because despite being basically the same film for four installments now. Regardless of that ominous runtime, ‘John Wick: Chapter 4’ somehow delivers yet another furiously enjoyable slice of bloody mayhem that, bizarrely, doesn’t outstay its welcome. A true experience as when have you ever seen a franchise go better on it’s fourth go in?

Where the series goes next remains to be seen, but it would be remiss to not mention the quiet impact of one of the story’s key contributors – Lance Reddick. His calm yet imposing presence has been one of the joys of this saga, and, in light of the recent sad news, his final line in this chapter couldn’t be more poignant. “It has been an honour, my friend”. Sir, the honour has been all ours. Rest in power my friend, you will be so very missed.

John wick chapter 4 is taken to the next level and by far, one of the best action movies I’ve seen in a LONG time, Extraordinary filmmaking & action sequences with stakes heightened like never before. It completely earns its 3 hr runtime, something you will only rarely ever hear me utter.

Grade: A-

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Review screening: Wednesday, March 8, 2023 ~ Courtesy of Brigade Marketing

JOHN WICK: CHAPTER 4 FROM LIONSGATE IS NOW PLAYING IN THEATERS

Drama, Movie Reviews, Movies, Sports

REVIEW: “CREED III” (2023) MGM

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Adonis Creed isn’t the only person returning here as I myself, am also making a return of sorts. Having been out for months due to Long Covid, I am slowly making it back to screenings and reviews. There is still a bit of challenges on the road ahead, and I am starting slow – but what a great start to have with this film. Let’s also get the talked about elephant out of the room right off – Sylvester Stallone is not in this movie nor did he have any part in it’s making, making it clear to all. There was a big hoopla between him and Irwin Winkler, you can google it if you need to know more. Now on with the review…

Michael B. Jordan not only comes back as Adonis Creed, but makes an impressive directorial debut in the latest of the Creed post-Rocky series, delivering what might be the best Creed yet and a sequel that just might surpass some of it’s predecessor’s Rocky franchise films.

We all know Apollo’s backstory, or at least we thought we did as the opening of the Creed III begins with a flashback to 2005 and a young Adonis (Alex Henderson), plays the younger Adonis and his pal Dame (played by Spence Moore II as a child/Jonathan Majors as an adult). It’s clear that Dame is a boxing prodigy and on his way to the life that Adonis ends up having. Fast forward 18 years and the storyline shows us a retired Adonis Creed who is now a stay-at-home dad with his daughter Amara (Mila Davis-Kent), and successful wife Bianca (Tessa Thompson), who is now a music producer. One day while at the gym he started along with his trainer Duke (Wood Harris), he runs into an his old acquaintance Damian (Jonathan Majors). Dame, as he is better known, was a better fighter when they were kids, with a brighter future than his own, but they got in trouble and Dame is just fresh out from a 18 year jail sentence. Now that he is out, he wants what he feels is owed to him, which is essentially everything Creed has including a chance at the Heavyweight title of the world. In a storyline that not even Don King himself could create, Creed ends up giving him his chance, but it’s apparent he quickly wishes he didn’t as once the demon has been unleashed on the boxing landscape, the same man who unleashed may be the only man who can stop him.

There is a lot of story to be told during the first third of this film and For the sake of spoilers, I won’t go any further into detail, but I’m sure you can guess where that heads. But as we move along into what each and every Rocky or Creed film truely focuses on, and that is the boxing. Just as Stallone directed himself in several Rocky sequels, Jordan takes command and improves on the formula in unexpected ways. While something could be said that as a first-time director, Jordan relies too much on CGI auditoriums to capture the vast crowd on fight night, but the fight coordination itself makes up for the artifical backdrop in a huge way. There is a slow-motion strategy where Duke’s coaching or Creed’s eyes identify weaknesses in the opponent, and we as the viewer, feel as though we are completely involved in moment-by-moment, blow by blow with them. As well, Jordan gives us an upfront show in the tactical maneuvers behind the sport, that many just don’t realize is such a big part of it all. In probably one of the most beautifully filmed as well as probably one of it’s harshest, is when the combination of backstory and present story hit their mark when Donnie and Dame reach the emotional zenith of their match, everything else around them fades away. All at once, fog surrounds the ring, and the screaming fans disappear. The opponents see each other as children, and literal prison bars appear, locking them together in the ring. It’s a thing of beauty.

Acting wise, Jordan shines, and not just behind the camera, but he also delivers another great performance as Adonis. At this point, it feels like Adonis is a part of Jordan and vice versa. It’s his character, and he’s grown well past the days of being in Apollo Creed’s shadow. But make no mistake about it, the absolute steal of the film is Jonathan Majors performance. It goes above and beyond with layers to his story — more than any other villain in this franchise — and he’s more than just a part of one of Rocky or Apollo’s past opponents. He IS that guy and brings this character to life like no other.

With it’s bit of a cheesy Rocky-esque opening, this film quickly takes a twist into finding its own form, Whether this is the final time that we get to see Adonis Creed throws a punch or not, Creed III is the perfect end to this trilogy, if it is the end that is.

Grade: B

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1930's, Drama, Movie Reviews, Movies, Romance

REVIEW: “DOWNTON ABBEY: A NEW ERA (2022) Focus Features

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“Why would anyone want the actors to talk I would have thought silence would be a blessing.” Dowager Countess of Grantham

There is one thing you can always count on when visiting Downton Abbey – it’s a busy place. People hustling and bustling around, from the Crawley family themselves, to all the downstairs employees who are a family unto their own.

But as all things do – time goes on and things change. Hence we find ourselves with “DOWNTON ABBEY: A NEW ERA” and boy what an era this turns out to be for all at Downtown. So much is changing in the world and this new Downtown Era transfers beautifully to the film screen, mostly because it has a new vision and a new director in Michael Engler. The original cast whom we’ve all come to know and love is mostly back with Dowager Countess (Maggie Smith), as always leading the way and as is tradition, she gets most of the best lines. The Granthams’ Robert (Hugh Bonneville), and Cora (Elizabeth McGovern), as well as daughters Lady Mary (Michelle Dockery), and sister Lady Edith (Laura Carmichael), are back as well with their families, though notably missing is Henry Talbot whose is away racing cars. This doesn’t bode well with Mary as she feels this takes precedence in his life and this might lead to a ‘wandering eye’ here or there. Though front and center is Tom (Allan Leech), who opens the film with his marriage being celebrated by all to Lucy (Tuppence Middleton).

The family and titles might be a bit hard to keep up with, but fans of the series have no problems remembering them all, For new fans, this film really has done a superb job in opening up the plot and the setting in this film in a truly new era.

The are two revolving plot lines in a New Era, one brings us the future, but the other brings us to the past. More specifically, the Dowager Countess’ past. But as half the household vacates Downton leaving Lady Mary behind to manage things at home. The rest of the family including Mr. Carson (Jim Carter), vacate to a beautiful seaside villa in the South of France that Lady Violet Crawley, the Dowager Countess of Grantham has mysteriously inherited from a Count that she met many many years ago. The Villa and the scenery surrounding the mystery is of course beautiful, but it also opens up the story to some very emotional family disclosures, and I will leave it there as the Countess herself notes: “I will say goodnight… and leave you to discuss my mysterious past.” And to tell you more would spoil it all.

On our other story set within the film, we watch as Downton Abbey moves to 1929 and with it, brings in not just the jazz age, but the movies itself within its doors. Movie lovers will remember that 1929, also heralded the end of the Silent movie era and talkies were taking over and the movie industry itself was being revolutionized with this. They manage to fit a lot in here with this theme as Jack Barber (Hugh Dancy), comes to town as a director wanting to make a movie using Downton as his location, also something that is changing – shooting from the backlots of studios to actual location shoots. Since Downton has fallen into some disrepair, the large location fee is most welcome – as is some of the movies cast, bringing in two famous silent films stars Guy Dexter (Dominic West) and Myrna Dalgleish (Laura Haddock), much to the enthrallment of Daisy (Sophie McShera) and Anna (Joanna Froggat).

The music score in this movie by John Lunn with the Downton theme that is so familiar to it’s audience, is effective in this movie and perfectly suits the family dynamics emotional side. As well, the wonderful soundtrack additions of the Jazz Age and songs of the era to round it all out. This film manages to have strong female characters and not only that but it’s also the perfect example on how to include gay characters without it feeling forced. Add in a certain amount of hi-jinx all around, and you’ve got yourself the follow-up movie we all needed.

The two stories are quite beautifully woven together and with so much of the original cast present, along with some wonderful new additions- this one works well in updating the story if this family we never seem to tire of.

Grade: B

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Review Screening: Friday, May 13, 2022 ~ Courtesy of Ginsberg/Libby PR

“DOWNTON ABBEY: A NEW ERA” FROM FOCUS FEATURES IS NOW IN THEATERS

Drama, Fantasy, Horror, Independent Feature, Movie Reviews, Movies

REVIEW: “THE INNOCENTS” (2022) IFC MIDNIGHT

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There are films that sometimes just reach out and grab you in the most unexpected manor. “THE INNOCENTS” from Norwegian director Eskil Vogt is just that film. It is wildly creepy, slick horror with a fantasy and drama element thrown in. And it’s a film you will not soon forget. It’s based around four children – two sisters, along with a boy and a girl from the local neighborhood they move to.

The film begins with the two young girls moving into a new apartment complex with their parents during Summer break. As children do, they look for others to befriend and play with and soon the two girls meet other kids in the complex, when something strange starts to happen.
As these young children come together they come to realize they are ‘connected’ in a way that is both evil personified and good personified.

THE INNOCENTS –

Ida (Rakel Lenora Fløttum), is an adorable little girl and is the younger of the two sisters. Anna (Alva Brynsmo Ramstad), Ida’s older sister is autistic and mostly non-verbal. At first, Ida seems like a troublemaker, as we see her pinch her sister, as if checking to see if she is for real as Anna doesn’t cry out or seem to notice the pain from it. For Ida, her sister represents competition for time with her parents, as their focus and energy is mostly spent dealing with Anna’s condition, Ida becomes sadly, sort of an afterthought as she doesn’t require the time and effort Anna does. But here in lies the delicacy of the wonderful acting by Fløttum as she is sublime at showing her character’s growth throughout the film. Then there is Ben (Sam Ashraf), a young boy from the complex and the first friend Ida meets. Ben is a myriad of complexities, with a mean streak driving his taste for violence and inflicting pain on others. Ashraf is absolutely haunting in this role. And lastly we have young Aisha (Mina Yasmin Bremseth Asheim), the compass if you will, of the group of four and the youngest. She is also somehow the only person who can communicate with Anna at first. Together as a group, these children can be just that, children, or something much much more, and therein lies the chilling effects of this film. The four children play off of each other so phenomenally, which is pivotal, considering they are our main focus throughout the film.

As well, the film is beautifully shot, edited with good sound design, which helps the movie to reach and hold the viewers attention – and then some. The movie is relentless and does not hold back, as certain scenes may be too graphic – but also quite a punch in the gut for some viewers. What the most chilling aspect to watch is the children because as they become aware of their power and it grows, so does the tension within. The Innocents addresses some serious adult themes that we are aware are too grown-up for the small group of children thrown together to deal with, all unaware of the others markings, but it makes the film all the more suspenseful and disturbing.

THE INNOCENTS

Vogt mastery of combining drama, fantasy, and horror in a compelling way is completely on point here. The story being told isn’t one where kids are committing violence for no reason, it’s more in depth than that. It’s more about the fantasy world kids often live in and their lack of understanding when it comes to the very real consequences of their actions, should they ever be given powers beyond their years. As well, there is no big reveal ever on how the children obtained the powers, and honestly, the question never arose in my mind on that as it’s really not the purpose of the story. The purpose is what happens once they do have those abilities and how they act on them – more the good vs. evil tone and the fact that these children as actors, pull it all off while making their debut’s – is truly a piece of excellence in itself.

Grade: B+

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Review Screening: Courtesy of IFC MIDNIGHT

“THE INNOCENTS” IS NOW IN THEATERS NATIONWIDE AND VOD.

1960's, Drama, Female Director, Independent Feature, Movie Reviews, Movies

REVIEW: “HAPPENING” (2022) IFC FILMS

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The past dictates our future in so many ways. So being somewhat traumatized by a film isn’t always a bad thing when that film is so important to whom you are as a person. And nothing could be more prevalent at this moment than Director Audrey Diwan’s film “HAPPENING” based on the semi-autobiographical novel from French novelist Annie Ernaux (originally entitled “L’Événement“). It’s speaks up from the past, not just telling us – but showing us all as well – the true brutality and horrors of what exists when women across the world lose their freedom of choice over their own body.

HAPPENING

The film takes us back in time to France in 1963, Abortion is illegal. Birth control is illegal. Told from the point of view of the main character Anne Duchesne (Anamaria Vartolomei), in close up and close quarters, we embark on this vivid, often hard to watch, journey with her.

Anne, Hélène (Luàna Bajrami), and Brigitte (Louise Orry-Diquéro), are college dorm-mates studying literature, and they are all getting ready to go to a dance. When they arrive, the room is full with men and women dancing though because of the times they are in, there is an undercurrent of having too much fun means you are loose or easy. In the weeks after the dance, we see Anne continually check if she has gotten her period and write “rien” meaning nothing, repeatedly in her diary. When her pregnancy is confirmed by the local doctor, she asks him to do something, but he declines and urges her not to speak about it. Later, as things are progressing and Anne is clearly slipping, she visits another doctor, who is supposedly sympathetic to her condition and prescribes a drug that will guarantee a miscarriage. She learns, however, much later, that the doctor lied to her and the drug is designed to actually strengthen the not yet formed fetus inside her.

HAPPENING

Anne’s friends through all of this present an array of reactions with Bridgette, the supposed more sexually liberated one, keeping her distance and instead it’s the usually quiet and shy Hélène who seems to be the more accepting and understanding of the two. Most surprisingly is Olivia (Louise Chevillotte), once Anne’s nemesis, steps up to the plate and proves to be vital ally when everything starts to spin out of control. The two become unexpectedly connected during a pivotal – and unforgettable scene that had me gripping my seat and squirming wanting to cover my eyes – but you can’t – because while traumatic, it is all to very real. 

While “Happening” depicts the very real story of a young girl who’s forced to make a very tough decision in a time where you didn’t have the freedom to choose, it’s director Audrey Diwan, whose choices here are so effective in making us live every single moment with Anne. She does a great job of depicting the social stigma and incredible secrecy Anne is forced to suffer through, just because she doesn’t want to let a baby dictate her life. You feel not just sad for her situation, but angry for what she is put through, and most of all, you root for her to find a way out before it’s too late, hopefully without any serious repercussions. The disillusionment she receives from her doctor and friends is upsetting to watch, not to mention she can’t even tell her family for fear of the shame it will bring.

The more weeks that pass by, the more stressed Anne gets and we the audience get as there is a sense of urgency throughout due to the spectacular performance of Anamaria Vartolomei. She conveys every single moment for you in such realism that there is almost a sense of relief when she finally gets to the back-alley abortion clinic after raising the money by selling her personal items – even though you clench your teeth, and squirm every which way in your seat, watching the painful procedure take place.

‘Happening‘ is a wake up call to us all as the film doesn’t lecture it’s non-believers. It simply, and effectively discredits them. What changed is that thousands of desperate women no longer died as the result of botched backstreet abortions and simply put – we can never go back there again.

Grade: B+

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Review Screening Friday, April 22, 2022 ~ Courtesy of Accolade PR

“HAPPENING” IS NOW IN THEATERS NATIONWIDE AND COMING TO VOD JUNE 21, 2022.

Comedy, Drama, Female Director, Foreign Film, Independent Feature, Movie Reviews, Movies, Romance

REVIEW: “Anaïs in Love” (2022) Magnolia Pictures

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From the very moment we first see her on screen, it’s clear that Anaïs (Anaïs Demoustier), doesn’t have her life together. It’s also clear that that is exactly how director Charlene Bourgeois-Tacquet wants her lead character to be. Anaïs is a whirlwind on the screen, as it is the films running joke throughout that Anaïs is a frenetic girl who is habitually late to everything. She is late to appointments, late to school, late to parties, late to family functions, yet she is never out of breath while being late riding her bike to all these events. To continually make it clear, she is late with the rent on her Paris apartment, late with her University dissertation, and yes, late with her period. She is also late in telling her live-in boyfriend Raoul (Christophe Montenez), that because she is late taking her birth control as she ‘just forgot’ that she is pregnant. But somehow everyone from her landlord to her professor, all look past her seemingly carefree approach to real life as she talks her way out of all of it because, you guessed it, she is late and running off to the next thing that she is late for.

This is all cute and whimsical enough until, suffice to say the one thing she on time for is when she has her abortion. The problem here is how nonchalantly this is all noted as if having the abortion is just another blip in her day. This is supposed to be comedy and there was nothing funny about the way this is handled in the story. Abortion, as we all know, is a serious right, a right for a woman to make a choice. It is not however to be shown so dispassionately and be treated as though it’s just another form of birth control. That something so critical and important of an issue and decision is taken here, by a female director of all people, should’ve been handled with more aplomb instead of being made to look easy to do and be played off as if she is cool as a cucumber doing it. The film lost its comical ‘pretense’ then and there.

So it’s really no surprise then to see as the film goes on that Anaïs takes an older, married man Daniel (Denys Podalydes), whom she met as she was late to a dinner party, as her lover, He then turns it around and ends the affair by stating he doesn’t want his life to change. Anaïs as per usual, just shrugs it off and turns her attention to Daniel’s wife, Emilie (Valeria Bruni Tedeschi). Emilie is a famous author and Anaïs worms her way into Emilie’s life after reading her book, tracks her to Normandy, where she’s holding a symposium, even though she was hired and supposed to be helping at a completely different symposium in another town. Once again, she just abandons something dependable for something whimsical. In the midst of all this and without warning, the women begin a sexual relationship. It comes as a complete surprise as neither character had up until that point in the film, even the slightest bit any previous indications that this was even something that either of them was interested in. All the while this is going on, Anaïs is coming to terms with the return of her mother’s (Anne Canovas), liver cancer. While this isn’t an excuse for her bad behavior, it seems to be given as some sort of explanation for it all.

There is a lot lacking here in terms of it being a comedy at all and it lacks any sort of dramatic punch even with the side-story of her mothers cancer. Anaïs the character, is never concerned about what the outcome of her actions are, so neither are we. Anaïs Demoustier the actress, is beautiful and does well with what the character is supposed to be, it’s just not enough to make the film any better. This is essentially a movie about an thoughtless young woman, whose mother is dying of cancer, and who makes the lives of those around her unpleasant. And that just isn’t funny no matter which way you twist it.

Grade: D+

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Review Screening: Courtesy of Ginsberg/Libby PR

“ANAIS IN LOVE” IS NOW IN THEATERS April 29, 2022 and VOD May 6, 2022.

Drama, Female Director, Independent Feature, Movie Reviews, Movies

REVIEW: “INBETWEEN GIRL” (2022) Utopia

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There are times when watching films that you find a hidden gem amongst all the seemingly endless list of choices to watch. Director Mei Makino’s 2021 SXSW ‘Visions’ Award winner, “INBETWEEN GIRL” is just that gem.

The film is framed in a personal and unflinching manner than what one might expect. It is charming, raw, funny, and truly tackles teen-age romance and sexuality pretty head-on, but in a way that is realistic and mature. It’s all about Angie Chen (Emma Galbraith), a young, pretty Chinese-American girl attending an Episcopalian private school in Galveston, Texas with a flair for drawing. While she is friends with Liam (William Magnuson), the stereotypical school jock who all the girls adore, eyebrows and all, that’s seemingly all there is to it. He gives her rides home each day from soccer practice and they begin to get to know each other, with their friendship beginning to border on something more. Truthfully she could easily fall for him if not for his girlfriend, Sheryl (Emily Garrett), a model/social media influencer who ends up being her partner in a class project, becoming her friend as well, making things all the more complicated. You get a sense of where it’s headed but even still, Makino somehow makes it all feel fresh and full of energy and heart, as well as a learning experience of life.

The dramatic heart and center of the film, also come from her troubles at home as her newly divorced parents make things all the more confusing in Angie’s life. She is living with her mother Veronica (Liz Waters), a lawyer whom is always working, leaving Angie to fend for herself for things like meals, homework, and most notable, her social life. As well, she is feeling distanced from her father Fai (KaiChow Lau), whom she cherishes but seemingly has instantly found a new, better family already with Min (ShanShan Jin), and her daughter Fang (Thanh Phuong Bui). Both of whom speak her father’s native Mandarin dialect and with whom she feels replaced by.

Between the difficulties with her love life and her home life, Angie struggles to come of age as simply as one would expect. While there is a good deal of levity to break up the dramatic plots, there is a natural charm and heartfelt good nature about the film that overcomes any small shortcomings it might have. It’s a winning little film that is beautifully told and acted as Emma Galbraith is a breath of fresh air to this role, that is rarely ever played by someone of mixed race, but she proves there should be more. Even our manipulating cad of a male lead – William Magnuson, puts a star next to his performance here.

This film so deserves to find an audience that will fall in love with this tale we’ve heard before, but truly told in it’s own angsty manner of everything facing a teenage girl. The mistakes, family, drama, happiness, and friendships that shape us into who we are. The film as well, explores the relationships between having a Chinese father/American mother – and how difficult your heritage can be to navigate when that family unit splits. This is one film that no one should miss!

Grade: B+

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Review screener: Courtesy of Caitlyn Hughes PR

You can stream Mei Makino’s “Inbetween Girl” on major VOD services beginning on May 3.

Adventure, Animation, Comedy, Movie Reviews, Movies

REVIEW: “THE BAD GUYS” (2022) Dreamworks/Universal

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DreamWorks Animation is back with “THE BAD GUYS” movie, based on the beloved children’s book by Aaron Blabey. The film, directed by Pierre Perifel, delivers our favourite book characters  in animation wonderment as they are meticulously animated and modeled. Vibrant visuals and stylistic choice makes this a true feast for your eyes. And doing voice-over justice here are: Sam Rockwell as Mr. Wolf, Marc Maron as  Mr. Snake, Craig Robinson as Mr. Shark, Anthony Ramos as Mr. Piranha, Awkwafina as Ms. Tarantula and lastly, the lovely Zazie Beetz as Gov. Diane Foxington aka The Crimson Paw.

(from left) Wolf (Sam Rockwell), Piranha (Anthony Ramos), Snake (Marc Maron), Tarantula (Awkwafina) and Shark (Craig Robinson) in DreamWorks Animation’s The Bad Guys, directed by Pierre Perifel.

It’s a delightful tale of a crazy gang made up of have been a team of notorious animal criminals that have been together for years, creating havoc around town and feared by all. But when they try to go straight after getting caught at one of their most notorious heists ever attempted where Professor Rupert Marmalade (Richard Ayoade), wins the Dolphin Award for Good Person of the Year, and the Bad Guys set out to steal the trophy. With Police Chief Misty Luggins (Alex Borstein) hot on their heels for a prize arrest, all that can go wrong does and they are caught red-handed. Rupert and Governor Foxington get the gang to undergo a Good Guys transformation to avoid jail time. But trying to fool people into thinking they are now model citizens proves much harder than it seems. That, along with realizing there is a whole new Bad Guy in town, takes us on a whirlwind of a ride.

Now Looney Tunes this is not, as if you’ve ever really sat down and watched those as adults, they have way different themes to you as they did when you watched them as a kid. This film doesn’t have the quick-barbed gags of those toon days, but it does have some decent plot twists that aren’t to hard for the kids to follow, or the adults for that matter. The villains here have hearts of gold, along with being a lot of fun. As an adult you might think the film suffers from a bit of a generic plot, which does knock the film down a few points – but if you have kids, this comes with a high recommendation, and they won’t even notice.  

The animation is stylistic and beautifully done, with maybe only a few quips on editing to speak of, it’s just a good fun time. As well, kids and adults alike will enjoy this one, a true film for the whole family!

Coming to theaters Friday, April 22, 2022 from DreamWorks Animation and Universal – run, don’t walk to get your whole family tickets for this one.

Grade: B

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Cast and Crew review screening: Tuesday, April 12, 2022 ~ courtesy of Universal/DreamWorks Animation

DREAMWORKS ANIMATION/UNIVERSAL “THE BAD GUYS” will be out in theaters Friday, April 22, 2022

Action, Action Adventure, Adventure, Drama, Movie Reviews, Movies

REVIEW: “THE NORTHMAN” (2022) Focus Features

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As I struggled writing my initial mini-review of this film, at the same time, trying to convey what is to be said about director Robert Eggers upcoming film, “THE NORTHMAN”. The same way I’m struggling to put down in words here in my full review – to talk about this film as a whole.

So many are calling it so many things. With words floating about such as “masterpiece” it’s difficult to come out and say you don’t feel the same way as then there is wrath to face. Almost like the wrath brought down in the Hamlet-like version of a revenge story told here starring Alexander Skarsgård, Anna Taylor-Joy, Nicole Kidman, Bill Skarsgård, Willem Dafoe and yes, even Björk makes an appearance as a Seeress.

Alexander Skarsgård stars as Amleth in director Robert Eggers’ Viking epic THE NORTHMAN, a Focus Features release. Credit: Aidan Monaghan / © 2021 Focus Features, LLC

As it goes, Amleth (Alexander Skarsgård), is a Viking prince that as a young boy, saw his father King Aurvandil War-Raven (Ethan Hawke), murdered and his future crown taken, though he was able to escape before they could get their hands to murder him as well. Amleth then turns around and becomes one of the warriors fighting for the Vikings destroying village, possibly being one of the most berserkers of all the warriors in the group killing endlessly and mindlessly. Once he learns that his Uncle, Fjölnir the Brotherless (Claes Bang), i.e., the one who killed his father, he decides to leave and head off to make point of his childhood promise of “I will avenge you, Father. I will save you, Mother. I will kill you, Fjölnir.” This sends him to a new kingdom where he can come face to face with his Uncle to exact these words of revenge. Even though he is just a measly slave, he is patient in his ways, waiting for the right chance to make this happen, during this time meeting Olga of the Birch Forest (Anna Taylor-Joy), with whom he wants to make a life, but only once his revenge is enacted. Once there, Amleth is in for more than one surprise as while Fjolnir is still ruling over people, it is not the reign one would be expecting him to have. Queen Gudrun (Nicole Kidman), the mother of Amleth, with whom he thought was taken by force, might not be so upset after all. It’s a not a simple story to tell, watch or understand and it skips across years like the flight of the crow it presents in its myths.

The story told of Viking life in Iceland is not a light affair nor is it for the feint of heart. It’s a savage brutal affair full of mud, guts and one can guess glory at the end – if one can call what happens a victory, then by all means do. Raging full with a testosterone score-fest of blood, death and gore not seen since the days of Braveheart, the films fills the screen with toxic masculinity, myths, sorcery, rage, much to much grunting, and oddly, romance. While the film takes turns with itself, taking itself much too seriously at times, and at others the few spoken one liners are delivered so absurdly that the audience laughs, where it’s not meant to do so.

Claes Bang stars as Fjölnir in director Robert Eggers’ Viking epic THE NORTHMAN, a Focus Features release. Credit: Aidan Monaghan / © 2022 Focus Features, LLC

While one can see just by budget alone there was much thought and effort put into this, and some parts work better than others, but it never really comes together as a whole – most especially the last act which slogs it’s way through a sort of poetic refrain that just didn’t fit with the whole slash ‘n gore look of the beginning and the middle.

This movie is definitely an exercise, whether it’s a workout to watch for all whom aim to look like Alexander Skarsgård at the end will be a challenge for some as it was for me. That being said, I think many will attempt the feat and enjoy it much more than myself and how can one not be happy for that..

Grade: D

Follow me on twitter: @pegsatthemovies or Instagram: Peggyatthemovies

Review screening: Friday, April 8, 2022 courtesy of Ginsberg/Libby PR

Focus Features ‘The Northman’ will be out in theaters Friday, April 22, 2022

Movie Reviews, Movies, Thriller

REVIEW: “ALL THE OLD KNIVES”

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“All the Old Knives” is a romantic spy thriller directed by Janus Metz, based on the book by Olen Steinhausen about romantically involved CIA agents looking back at a mission that went wrong in a big way.

The story is set eight years after the 2012 hijacking of Royal Jordanian Flight 127 and the CIA’s mishandling of it, leading to the deaths of the passengers, the terrorists, and an agent who was onboard. The Vienna-based investigating team, made up of Henry Pelham (Chris Pine), Celia Harrison (Thandiwe Newton), Bill Compton (Jonathan Pryce), Ernst Pul (Jonjo O’Neill), Leila Maloof (Ahd), Owen Lassiter (David Dawson), and their supervisor Vick Wallinger (Laurence Fishburne), are initially clueless. Believing the terrorists had inside help, and only after the capture of the “mastermind” of the terrorist attack, Ilyas Shushani (Orli Shuka), is Henry is sent to interrogate now former agent Celia, with whom he suspects provided information to the hijackers. The story is them rehashing not only the entire day of the attack, but their relationship at the time as well which is when they (and we) realize that the truth is far more twisted than anyone initially thought.

ALL THE OLD KNIVES

One would almost think this would be an action filled, Bond-esque type thriller, but this isn’t that in the slightest. All the Old Knives keeps the suspense going through the conversation and keeps you wondering what happened, who did it – and why. There’s a deliberate omission of details to keep you guessing along about what’s coming next. Conversations that happened in the past are run in together with parallel conversations of the present to help accentuate the impact of certain revelations. Pay attention as well, to the visual clues being dropped, as they all take you down the traveled path of the story at hand with seemingly at every moment a twist is thrown in. We watch as the room gets smaller and smaller, making it almost impossible for the answer to escape as well as asking the bigger question – when it all comes down to it in the end, who do you trust?

ALL THE OLD KNIVES

While the scenery is a beautiful backdrop in the entire film, most especially the restaurant scene where the story unfolds, the film is held together by it’s two leads Pine and Newton. They are the glue that keep it pasted together, though at times to be fair, barely so as sometimes they seem to work with their characters chemistry, and other times they just seem to be working their characters. As well, with a supporting cast that includes Laurence Fishburne and Jonathan Pryce playing characters that are certainly within their element, Henry’s interrogation of Bill in a London pub, is devoid of any dramatic heft. Pryce, for his part, makes a spirited effort to give these scenes some depth, but the material just isn’t there. Fishburne barely plays a factor as he might have five minutes worth of screen time, which befuddles the mind as why wouldn’t you want to use someone of Fishburne’s caliber throughout the film to elevate it more. The other supporting actors are all given the briefest of moments, even when it’s revealed that Lassiter, David Dawson’s character, committed suicide over the whole fiasco.

So with struggles to streamline the story and stumbles a bit with it’s own chronology that’s likely better in the book, though it still carves out a decent enough spy-game intrigue.

Grade: C

Follow me on twitter: @pegsatthemovies or Instagram: Peggyatthemovies

Review Screening: Friday April 1, 2022 ~Courtesy of Ginsberg/Libby PR and Amazon Prime

Amazon Studios will release ALL THE OLD KNIVES in select theaters and globally on Prime Video on April 8, 2022.